In this study, the fashion show of the disabled was hold for the universal fashion through the clothes which has relationship with personal mentality and behavior. There are several outcome of the fashion show. First of all, the main outcome is that through the fashion show the disabled fret that there is no difference between them and the ordinary people. Also, it is necessary to the revitalize the product development with universal fashion design. Secondly, the systematic succeeding study is necessary to solve the problem of the disabled and to set up the database management system in order to have a general idea for the their actual living condition and essentials of life for the disabled. Thirdly, even though the main purpose of the fashion show was to give them an opportunity to live fairly as a human being within their society, after the show, the necessity of social system to solve the additional problems and to continue the mental satisfaction comes. Fourthly, the disable have a tendency not to wear the special clothes for them since they want to be seen as the ordinary person. Finally, I suggest that there must be revitalization of a special design and the product development to reflect above mentioned points in addition to ordinary clothes.

Visual language is 'a form of communication without text'. Visual language is one of the strongest methods to spread knowledge. Uniforms could be interpreted as a symbolic language that establishes order in this complicated modern society by placing identity and responsibility on each members of various different organizations. In light of the above, the purpose of this research paper will be to analyze police uniforms of U.S.A, Great Britain, Italy, France and Korea as a form of visual language and interpreting them in terms of visual design in order to understand the fundamental ideas behind the designs and the effective applications thereof. Upon analysis of traffic police uniforms of each individual county mentioned above by separating each uniform's distinctive design, pattern, color, material and decoration based on visual factor, three characteristics of authority, dynamic functionality and friendliness were derived from comparing and analyzing each country's distinctive uniform design. The traditional unique role of police in our society was to maintain social order as their nature inherently possesses characteristic of authority and preservation, but has since undergone transition in many countries to appeal to the broader public by incorporating friendliness and dynamic functionality. Analyzing police uniforms in terms of visual linguistic sense requires a much more profound process of understanding beyond simple interpretation of configurative shapes. In conclusion, the true purpose of uniforms is to include and portray images of mankind's desire toward expressing ideas like 'mankind's bias toward existence beyond theirselves and the exercise of force through authority' and materializing such ideas into a physical form.

The fashion of the 19C had been through many diverse styles, i.e. Empire style, Romantic style, Crinoline style and the Bustle style. These styles had emphasized a certain figures, such as exaggerated hourglass silhouette of crinoline style or S silhouette of bustle style. Following the trends, corsets became more than underwears. Actually they supported the fashion of the 19C. Apparently, the corsets had been evolved in many aspects. Patterns, materials and trimmings were developed and refined to make torso figures desirable. The initial purpose of the research is to find out how they developed corset patterns to make such a diverse figures, so that the techniques can be adopted in contemporary pattern design. The 16 corsets and their patterns were quoted from books related the subject. The patterns were redrawn of same scale for the comparative study concerning cutting lines and measurements. Coming to the late, more curved lines and more segmented cutting were used to make body more of glamour and natural. Gussets were another key technique to make them work. Various sized and shaped gussets were used to follow the trends of ever changing.

This study aims to improve the uniform functionality of the workers who work in Electric Technology Division, Korea Railroad Corporation. Former study of questionnaire survey was taken to examine the current state of wearing working clothes for the workers. Based on the results of the former study, an experimental clothes, the functionality of which has improved in terms of design, materials, and patterns, was created, and existing working clothes and the treated experimental clothes were compared through simulation wearing evaluation comprising appearance, activity adaptability, quantitativeness, and on-site adaptability evaluation comprising appearance and activity adaptability. The followings are the results of the study: Simulation wearing evaluation is composed of 5subjects and 11experts specializing in costume, and as a result of evaluation the experimental clothes were evaluated superior to the existing working clothes in all items. On-site adaptability evaluation was conducted by workers in the Electric Technology Division, who are the subjects in this study. In that evaluation, the experimental clothes were also evaluated superior to the existing working clothes in all items. While the five subjects who participated in the simulation wearing evaluation move, the quantitative evaluation measured the distance of location transfer of the back length in the jacket and the distance of location transfer of the back waist in the trousers. As the distances in the experimental clothes were measured shorter than the distances in the existing working clothes, the subjective evaluation results are objectively supported.

A history of Chinese Costume is that of the accept and the struggle between the 'Shen- Yi' of Han(漢) race and 'Ho-Bok' of foreign races. There are the 'Shen-Yi Ko' and the 'Ho-Bok Ko' in their representative documentary. They are quite significant materials for the researchers of the Oriental costume. The purpose of this study about comparing and analyzing the 'Shen-Yi Ko' and the 'Ho-Bok Ko' give a guidance to Chinese costume's researchers. The results of study are as follows: The 'Shen-Yi', having made a dress joined an upper to the low clothing together(上衣下裳) and deeply covered the parts of all the bodies, was named, had appeared the Spring-Autumn & warring state period(春秋戰國時代) and later the former Han Dynasty(前漢). Not only everyone in spite of men and women, without distinction of rank, high and low alike but also even the court dress(朝服) and from latter Han Dynasty(後漢) only the housewives could have worn it. The 'Shen- Yi Ko' disappeared its records and remains and at present nothing leave behind. The 'Ho-Bok' is a costume of the nomadic horse-riding people among the foreign races, then influenced upon the Chinese costume. The style of the Chinese costume consists of 'Yi Sang'(衣裳) and the 'Ho-bok' of foreign races, 'Yi Ko'(衣袴). The 'Yi Ko'((衣袴), derived from the King Muryoung of Cho Dynasty, had greatly been changed the chinese men's clothing and After that 'Ko Sup'(袴褶). The Chinese have enjoyably and familiarly the accepted 'Ho Bok' for a long time.

The purpose of this study is to prescribe formative perspectives as a framework where the aesthetic taste and demands of a certain period are embodied and to develop new analytical tools to examine the beauty of dress in terms of form. First, the theoretical tools selected for this study are Heinrich Wolfflin's formative perspective theory derived from art and Marilyn R. DeLong's framework for visual analysis of dress. Second, several issues that limited the development of a new framework for analyzing the form of dress were identified and addressed. Third, the selected aspects of dress form to be analyzed are specified. They are: silhouette, inner form, structure form, materials and patterns based upon the relationship between the body, dress and space in order to develop new formative perspectives. Based upon these theories a new framework for analyzing dress aesthetics in terms of form is developed. This reconstructed framework consists of three sets of antagonistic representational styles: closed form/open form, linear form/painterly form and multiplicity/unity. Closed form/open form represented in dress can be classified by the clear or obscure silhouette shown not only in the relationship between the dress and space around the dress, but also from changeability or invariability of dress in relation to the body. The material, pattern and various design elements are used as the central criteria to determine the linear/painterly characteristics in dress representations. Finally, the multiplicity/unity can be found in the relationship between the whole and the parts. Multiplicity is represented in dress when the parts have a visual priority over the whole, whereas unity is represented when a dress as a whole has visual priority over the parts. A dress represented with closed form, linear characteristic and multiplicity is perceived as a clear form. In contrast, a dress with open form, painterly characteristic and unity is understood to be an obscure form. It can be said that this study is the first attempt to establish the formative perspectives for analyzing the form of dress in various periods, cultures and races for the future studies.

The purpose of this study was to subdivide the shoes market in Korea and to evaluate the size and competitive strength of each segment. In order to implement the purpose of this study, the data of 300 respondents were analyzed using CBC(Choice-Based Conjoint measurement) and mixture model. The part-worth utilities were then used to predict the impact of price change on the choice probability using the legit model. As a result, the mixture model showed the optimal segments number and the shoes market in Korea was divided into 4 segments. Each segment was identified by distinctive characteristics such as brands, price and demand for comfortable shoes. Also, as a result of grasping the competitive structure and the competitive strength by sub-markets, one group was sensitive to price according to each competitive situation, whereby the choice probability was greatly influenced, and the other group on the contrary. This study made it clear that discrimination between brands whose profits Increase sharply if price is lowered and brands whose profits do not increase even if price is lowered can help brand managers with their decision-making on price lowering.

This study analyzed that how well the consumer recognize and what they feel about the characters which were applied in fashion brand. Four hundreds and forty two men and women who were living in Seoul and the metropolitan area were selected for this study and SPSS 12.0 was used for the technical statistics such as Frequency, Chi-Square Test and Correlation Analysis. The result of this study were as follows : 1. The consumer didn't well recognize the name of brand and the character which were provided from the brand. 2. There were included brands 'B' 'T' 'L' 'A' in the highly ranked cognition brand. A common feeling of these brands were 'a feeling of cute' and 'a feeling of intimacy'. 3. The consumer's feelings of character were categorized into 'a feeling of lute''a feeling of sexy' 'a feeling of soft as pap' 'a feeling of humorous'.

This study intended to develop and produce a modern form of fashion design for the Korean creative dance performance, 'Crazy Skirt Collage', which expressed conflict between internal ego and a persona in a woman. The qualitative method was used to analyze literature review, internet search and visual data of historically important cases related to the theme. Based on the analysis, the fashion design of the dance performanre by Hwang Hee-Yeon that was actually staged on Towol Theater, one of the Seoul Arts Center, was produced. The results wire as follows; First, the study confirmed a change of persona that revealed a female's animus strongly as it moved into the modern time. Second, the female's persona was expressed through long skirts, slips, dress shoes, handbags, military shoes, dresses with long zippers, trousers, wedding dresses and Korean full skirts during the performance, while the female's animus through male coats, panties, big bags and clock. In conclusion, it is necessary to study new expressive methods, that is, dance clothes using advanced equipment such as lights, videos or other variety of materials. It is also important to understand aesthetics of modern women's ordinary lives and to adapt ordinary clothes to dance clothes in various methods in order to express their modern lives appropriately through Korean creative dance.

The study aimed to classify and analyze about the winter cap in the literature of the Joseon Period, as the period of using, synonyms, user, shape and materials. The following are the result of the study. 1. The winter caps can be classified into two kinds of group by times. The first ones have been used continuously during the whole Joseon Dynasty, for example, Nanmo(煖帽, 暖帽), Ieom(耳掩) and Pigyeon(披肩). These names are winter caps for the bureaucracy. The second ones have been used a part of the Joseon Period. Some of the names used in the first half of the Joseon Period, for example, Mogwan(毛冠), Chopigwan(貂皮冠), Chogwan(貂冠) and Seobokpigwan(鼠腹皮冠). The other names used in the latter half of the Joseon Period, for example, Noepo(腦包), Nanja(暖子), Jeomgyeon, Chageompi(遮?皮), Pimaho(皮馬虎), Wibo, Chipo, pungryeong(風領), Nani(煖耳), Hohang(護項), Hwihang(揮項), Manseonduri, Pungcha(風遮), Samsangeon(三山巾), Iwi(耳衣), Aekeom(額掩), Yangjeongeon(凉轉巾), Bolkki, Ayam and Guile. 2. Synonyms with connoting relationship in which one name perfectly connotes meaning of another name are Nanmo, Nani and Pigyen, Nanmo connotes Ieom, Chomo, Homo, Iwi and Hwihang. Nani connotes Hwihang, Hoieom and Pungcha. Pigyen connotes Hwihang and Ieom. In these cases, the range of the meaning of clothing terms can be confirmed since names with broad meaning connote names with narrow meaning. 3. Some names related with the other names, as the user, shape and materials, for example, Ieom, Hwihang and Pungcha.

This study was undertaken to design Ginyeo's character and costume in the early-middle Goryeo Dynasty which had a few relics, and to make practical cultural contents. The famous Goryeo Ginyeos who had real names are costume characters. Goryeo women dressed in delicate white ramie jarket in "Goryeo-dokyung", and the shape of Jacket can be two kinds: long-wide jacket enough to tie a belt, and long caftan cover the knee. Goryeo women enjoyed wide yellow skirt, but Ginyeo in "Dongguk-isanggutjip" put on pink, flower, pomegranate, red skirt for high class ladies. In the case of Mong-su(a head cloth with black gauze train), it is thought that Ginyeo fold up train like lower class or just hang down like ordinary women, because of their status. As underwear, a ramie jacket and wide underpants were set up. It is needed that many Golden bells and jade trinkets must be attached to Goryeo Ginyeo's waist to stress their characteristics. Ginyeo's hair style can be designed so that a bunch of right hair was dropped down and the rest hair was rolled on reft shoulder. To design a Ginyeo's costume chatacter of the early-middle Goryeo, the richness of wide skirt, delicacy of white ramie, a great deal of trinkets must be emphasized correctly as a characteristic of Goryeo women's costume in that period.

The Purposes of this study are to analyze the couture-like design characteristics expressed in modern fashion and to grasp its sociocultural meaning. For this, the documentary study and practical case study have been executed. Fashion writings and visual sources in Gap Pret-a-porter Collection, www.style.com, www.firstviewkorea.com are used. The results are as follows. First, couture ran be featured as a luxurious made-to-order design for individual clients with high quality fabrics, hand-craftsmanship, painstakingly perfect details and finishing. It is valued on authentic originality, uniqueness, aestheticism, and luxury. As the relationship between couture and mass fashion has changed, there appeared not only traditional couture for few privileged people, but also demi-couture which bridges the gap between luxurious couture and pret-a-porter. Second, couture-like designs in modern fashion are classified as (1)the adaption of house archive (2)retro with couture-like silhouette (3)hand-craftsmanship in details and finishing (4)individualization for only one client. They have sociocultural meanings, which are the reaction to the crisis of originality, new luxury for differentiation, the pursuit of new individualism thinking. Ultimately, it ran be thought that couture-like design in modern fashion results from the mutual needs between elitism fashion designer struggling in the hegemony of originality and reproduction, and modern consumer seeking for luxury, individualization.